Sunday, May 12, 2024

Liz Patrick | Convent Meeting / 2023 [TV (SNL) episode]

bells are ringing

by Douglas Messerli

 

Liz Patrick (director) Convent Meeting / October 21, 2023 [TV (SNL) episode]

 

In the convent in a “very isolated part of Austria,” the Mother Superior (Molly Kearney) enters where her fellow siters are standing in small groups, and asks them to “gather ‘round at once.” She announces that she has some very disturbing news, calling their names one by one, Sister Philomena, Sister Elizabeth, Sister Florentina, Sister Genevieve, Sister Catherine, Sister Mary, Sister Theresa (the first six named nuns played by Chloe Fineman, Heidi Gardner, Punkie Johnson, Ego Nwodim, Sarah Sherman, and Chloe Troast) and the last, Sister Theresa (the Puerto Rican rapper Benito Antonio Martínez Ocasio, better known as Bad Bunny).



      The news Mother Superior has disturbing news, that “there may have been a man posing as a nun, hiding amongst us to sleep with other nuns.”    

       All display shock.

    Sister Theresa is particularly disturbed, declaring as a “horrible” dead and scolding “Whoever is doing that you are very bad.”


       One nun admits that they’re so bad that they’re good. Another betting that whoever it is so bad that he won’t be able to do it again in the garden after lunch.

       “No gambling,” reminds Mother Superior. “We need to find that man and force him to repent.”

      “Yeah, he needs to repent me over the dining table again and blow my whole rosary out,” comments Sister Genevieve.

       Called out by Mother Superior for her comments, Genevieve repeats “Present,” while another nun adds, “Yeah, you can present me with that wiener again…and what how fast I gobble it down.”

       Mother Superior begs them to focus on the evil man attempting to corrupt their virgin souls.

     “This man or woman is clearly so sexy that even God cannot stop him,” concludes the bearded Sister Theresa.


      “Besides,” adds another nun, “I hear can’t see it as long as you do it in the bell tower and the uses his penis to ring the bell and yells “Ding dong!”

       “Ding dong is also what I felt about the man,” Theresa confesses.

       One nun, however, can’t comprehend why the others are not more outraged. “Whoever’s agreeing to have S-E-X with this man is just as guilty as he is.”

        “Yeah,” adds another, “or maybe there’s one nun who’s gettin’ none.”

      Mother Superior interrupts their memories once again, insisting she will give the man one final chance to confess.

       Mother Theresa concurs: “Yeah confess! Whoever you are, you beautiful monster! You sexual king, just admit what you did!”

        By this time, moreover, the joke seems to be over, the confession necessary for the blind and naïve nuns to save face.


      Suddenly out comes Sister Kevin (80-year-old Mick Jagger in a nun’s habit) declaring: “Fine. I confess. It was me. I was the one who corrupted these poor women with my lips and my hips. And was the one who rang the bell with my penis and yelled, “Ding dong!”

 

        “Sister Kevin, how could you betray us like this?” yells Mother Superior.

        “I know. This is probably the worst sex scandal in the history of the Church. But look on the bright side. Before I got here all these sisters just mumble “Our Father,” but now they’re all screaming “Oh, God!”

       Mother Superior insists that he must leave the convent at once. But the sisters beg her to let him stay and sleep with them just for a few more nights. Besides it’s almost Halloween. Sister Theresa, pleads the loudest, “Yeah, pleaaaase.”

     “Well, I suppose we are in a very isolated part of Austria and it is almost Halloween. O F it, why not! Sister Kevin can stay!”

       The sisters all cheer. “Now let’s go sisters,” shouts Sister Kevin, I think I’m read for “The Second Coming!”

       I should perhaps add for those who don’t know, Bad Bunny, who sees his own sexuality as fluid (although he admits he is now heterosexual), has been extremely supportive of LGBTQ+ issues.

 

Los Angeles, May 12, 2024

Reprinted from My Queer Cinema blog (May 2024).

Peter Ahlén | Mørke rum (Perpetual) / 2015

dream lover

by Douglas Messerli

 

Jakob Holtet Stridbæk and Peter Ahlén (screenplay), Peter Ahlén (director) Mørke rum (Perpetual) / 2015 [26 minutes]

 

Danish writer/director Peter Ahlén describes his work as “an unconventional love story.” In this case, however, the love is all one-way, coming from a young high school student, Sebastian (Nicolas Wollesen) who, like so many young boys today unable to relate to anyone in their schools but perhaps a best female friend, is desperate to hook up with someone over the internet.


     Sebastian connects with a slightly older man, Jacob (Mads Hjulmand), a truly handsome figure who seems to the young boy to be everything he’s imagined in a gay lover. He’s quite literally hooked by the very first glance which he steals from around the corner, almost ready to return home in the fear of meeting up with such a hunk.

     But he bravely overcomes his doubts, introducing himself as Alexander. He is surprised, however, when instead of taking him back to his own apartment, Jacob takes him into a gay bath (described in the film as a “sex-club”). There, the shy boy admits that this is his first time, as the elder confesses his wonderment of having found such a beautiful young swimmer seemingly ready to join him in sex. As Jacob gently begins the foreplay, however, Sebastian gets cold feet and runs, Jacob reassuringly suggesting that whenever he’s truly ready, he’ll be there for him.

 

    The entire incident has already been horribly exaggerated by the teen, as he describes his “new lover” to his best friends Sara (Sofie Topp-Duus), complete with “cool apartment” in which they’ve met up. But when Jacob doesn’t reply to his cell-phone greetings, he becomes depressed.

      To cheer him up, Sara accompanies him to a gay bar where he immediately meets up with someone closer to his own age, before Sebastain even knowing it, the boy kissing him. At that

moment Jacob appears, however, and appears shocked that the innocent boy, the virgin which he clearly wanted for himself, may not be what he seems.


       Sebastian, despite the pleas from Sara and others, goes running after the older man, explaining that there’s nothing between the other boy and him and that he has tried to communicate.

      The two end up meeting again at the baths, this time the boy appearing to be quite ready for the sexual aspect of what he deludes himself is already a “relationship.” But at Jacob gets read to fuck him, he again pleads that since this is his first time mightn’t there be a place where it might seem more special. Couldn’t Jacob please take him to his home? The answer is an emphatic no, a brief explanation about it being a “mess.”

 

     If we immediately perceive that Jacob may be a married man, living with either another man or a woman, Sebastian has no such wisdom and to keep Jacob near him gives into his pleas, allowing him to take his virginity in a cheesy sex-club.

       Yet now he can at least claim that they are truly a “couple.” Only Jacob does not answer his internet communications, and when he finally calls him, the man is vague about when they can again meet, vaguely explaining that he’s busy. Soon after, Sebastian shows up at the front door of his apartment, ringing his door, and wondering who might the other person who’s listed next to his name might be. Jacob scolds him for daring to try to visit him at home, and despite the fact that another person now opens the door and he could possibly enter, the boy has the good sense to leave.

 

    But the last scene of this short film makes it clear that Sebastian has not yet been fully able to cure himself of his delusions, his desire for such a handsome lover overwhelming his logic. We see him meeting up again at the baths with Jacob, the man only to happy to take advantage once again of young and willingly beautiful flesh. As Jacob bends over the boy to kiss him, it is as if Sebastian were lying etherized, as T. S. Eliot described it, upon the table.

    Despite the film’s English-language title, I can only imagine that even this naïve young love-stricken dreamer now realizes Jacob is the not the right first love, and that he needs to look elsewhere to find what he’s seeking. Sometimes, perhaps most times, “first loves” are something to be forgotten.

 

Los Angeles, May 12, 2024

Reprinted from My Queer Cinema blog (May 2024).

Shūji Kataoka | 泳ぐ男 (Oyogu otoko) (The Swimmer) / 1987

the proper strokes

by Douglas Messerli    

 

Shūji Kataoka (screenwriter and director) 泳ぐ男 (Oyogu otoko) (The Swimmer) / 1987

 

Shūji Kataoka briefly studied at the College of Economics at Kanto Gakuin University before going to work as a producer and director at Kan Mukai’s Shishi Productions, debuting with Yokoku Bōkō: Yaru! Sasu! In 1983.


     He went on to direct, write, and produce a number of what the Japanese describe as Pinku eiga or “Pink films,” erotic works that in the West might be described as pornography, but is mostly without full nudity or complete representation of the sexual acts involved. Generally, alternating between the sexual episodes were action events that involved violent action or other adventures that crossed genres to include gangster, spy, detective, and other such dramas.

     Noted commentator on Japanese cinema Donald Richie described these productions as being “the limpest of softcore” sex.

 

“…Though there is much breast and buttock display, though there are simulations of intercourse, none of the working parts are ever shown. Indeed, one pubic hair breaks an unwritten but closely observed code. Though this last problem is solved by shaving the actresses, the larger remains: how to stimulate when the means are missing. To work around this censorship, most Japanese directors positioned props—lamps, candles, bottles, etc.—at strategic locations to block the banned body parts. When this was not done, the most common alternative techniques are digital scrambling, covering the prohibited area with a black box or a fuzzy white spot, know as a mosaic or ‘fogging.’”

 

      Pink films were particularly popular in the mid-1960s, making up a large part of the Japanese domestic market through the mid-1980s. Although most of these works were heterosexual in nature, they increasingly grew in the 1970s and 1980s to include gay sexual activities. Kataoka produced several very successful gay films as well working in the adult entertainment industry as well, including the “S&M Hunter” series, the “Rope and Boy” films, and the serial subway rape films of which there were both heterosexual and homosexual variations.

 

     In his 1987 work The Swimmer Kataoka wove together several gay sexual sessions with an almost inexplicable feeling by the wealthy brother Wataru and his sister (Mayumi Matsumoto) that the boy is about to be kidnapped. If nothing else, he often notices that people are following him, although when he hides around a corner they simply walk on by.

      The sister hires a tutor for Wataru who is also to serve as a bodyguard, but, she soon discovers, except for having studied karate as a young boy, he has no current skills to protect his young charge, forcing her to immediately fire him.

       Soon after, as she leaves a local public gymnasium, she is surrounded by three homeless men. At that moment, the swimming instructor (Tōru Nakane)—attempting to establish his own swimming classes—passes by, she calling out to him for help. He claims that he presumed they were her friends, but smelling them realizes her plight (the kind of societal slight that was common in Pinku films), and using his considerable martial arts skills in the manner of Bruce Lee rushes to her defense.

       She attempts to hire him on the spot to serve as bodyguard for her brother. But he is disinterested. She finally hints at enough money that he is willing to do it simply to pay for the survival of his swimming school.

       Lest the reader imagine that I am about to enter upon a long series of plot events, let me assure you that once Kataoka has set up the situation the series of kidnapping mishaps serve only as cinematic variation for the basically comic gay sexual copulations.


      We have already observed the swimmer teaching one of his pupils at home, a teaching method that as a young boy I surely might have preferred over being bussed to the cold waters of a public pool in a different small town twice a week. Both men, dressed only in their underwear, the student lying upon the bed as if it were a white body of water, the swimming instructor soon joins him to demonstrate a particular stroke which accidently entails a maneuver in which, in a shifting of the hands, he ever-so-slightly brushes against the student’s cock. He follows this up with demonstration of the breaststroke, climbing on top of the other boy to combine the hand movements with the proper contraction of his ass as the instructor clearly is engaged in an anal fuck.

       The young Wataru is clearly already gay, rushing out most nights to a local gay bar. When the new bodyguard joins him, however, he and his friends find the older man, who dresses up for the bar visit like a “gay caballero,” as mostly embarrassingly, and Wataru engages them to help get rid of the pest.

      Meanwhile, the two engage twice in various sexual activities, the most erotic of which is a variation of mutual cock-sucking in the “69” position. Again, Kataoka manages to make this quite erotic despite our inability to actually see what it is they are sucking upon.

       Finally, Wataru’s quite neglected sister, receives a call: her brother has been kidnapped, and the bodyguard, whose drink one of Wataru’s friends has spiked with sleeping pills has left the boy alone—the sleeping beauty meanwhile joined in bed by the boy who spiked his drink.

     When the swimmer awakens to discover that the sister has received a telephone message that Wataru has been kidnapped, he delivers the money, at the last moment leaping into the air to take down the kidnapper—only to discover it is one of Wataru’s friends, Wataru, himself, hoping to use the kidnap money for his own expenses.

        Having uncovered their deceit, the swimmer quickly quits his job. But when the sister still agrees to pay him his salary, money that will save his swimming school, he begrudgingly remains on as Wataru’s temporary body guard, particularly after witnessing a scene in which gangsters with guns actually do attempt to grab the boy.

 

       This time the swimmer actually saves the boy’s life, Wataru now regretting his former tricks. The swimmer suddenly perceives that it’s time to bring the young boy in manhood with a good fuck. He works up to in in grand Pinku style, with a great deal of fully dressed foreplay and a lot of later grunting and groaning.

         When the gangsters return, this time grabbing the boy at gunpoint, the two hoodlums who the swimmer originally “beat off” (sorry, but the pun is in perfect style with this movie) slug and kick Wataru’s bodyguard, presumably determined to kill him off. But this time, Wataru, now having become a true man, grabs the gun and turns it on the gangster head, while the swimmer sends them in true comic book style into the clouds.

          The boy, so the swimmer has determined, can now protect himself and he can go back to his swimming duties, with a few home lessons, surely, on the side.

          This somewhat charming Pinku eiga might send even a homophobic prig into giggles—all without the guilt of having to witness an actual nude human body!

 

Los Angeles, May 12, 2024

Reprinted from My Queer Cinema blog (May 2024).

 

 

Martin Ritt | Norma Rae / 1979

it comes with the job

by Douglas Messerli

 

Harriet Frank, Jr. and Irving Ravetch (screenplay), Martin Ritt (director) Norma Rae / 1979

 

      Martin Ritt's 1979 film Norma Rae is clearly, the most realistically conceived as well as the most focused of films on the actual issue of unions. Located in a small Southern US town, a region (as I mention in my discussion of There Goes My Everything in My Year 2006) where union leaders and even members were often thought to be Communists, and joining unions, accordingly, was perceived as an un-American act, the film presents the often brave and always strong-willed activities of Norma Rae Webster (Sally Fields, who won an Oscar for her role) and a Union organizer from New York, Reuben Warshowsky (Ron Liebman). Based on a real-life figure, Crystal Lee Sutton, who, while earning $2.65 an hour folding towels at the Roanoke Rapids, North Carolina, J. P Stevens plant, tried to organize her co-workers, the film proceeds in a fairly true-to-life, unspectacular manner to depict the gradual awakening of the workers to their needs and, most importantly, their rights.   


   Norma Rae's own difficulties with men, including her clueless husband, her latent attraction to Rueben, and their discomforts with opposing cultures and religions is all gently laid to rest early in the film so that Ritt can focus on the growing union activities and the inevitable repercussions upon her life. The mill itself, more than its unsympathetic owners and managers, is represented as a monstrous Dickensian machine, the air filled with wool dust and the pounding sound of the looms that voids almost any possibility of verbal communication and assures the eventual loss of hearing for its employees. The moment in the film where Norma Rae discovers that her mother has become hard of hearing is one of the most memorable in a series of scenes played out in the infernal factory, where employees are carefully watched for even the smallest of infractions.



     Refused permission to put up a union sign or even post company policies, arrested, and fired, Norma Rae gradually grows through Rueben's mentoring from a fairly ignorant country girl into a wiser woman who is transformed from just another worker to someone, as Crystal Lee Sutton is purported to have asked to be remembered, "who deeply care(s) for the working poor...." Upon being arrested and humiliated, Norma Rae breaking into tears, is given little sympathy by Rueben, who reports "It comes with the job."

 

   Her growing sense of determination and righteousness is at the center of Ritt's film, and its trajectory is what makes his film a fulfilling work. By the time that Norma Rae, like Sutton before her, closes down her machine and, standing on her work table while holding a cardboard sign upon which she has scrawled UNION, brings the entire factory to a silent halt, we know that no matter what the outcome, the workers have won and their relationship to the monstrous mechanic in which they toil, has been changed forever.

     In reality it took a year before the Amalgamated Clothing and Textile Workers Union won the right to represent the seven plants located in Roanoke Rapids. The court ordered that Sutton be paid back wages and returned to work. She returned for two days, quitting to work as a union organizer. On September 11 of this year (2009), Sutton died of brain cancer at the age of 68.

 

Los Angeles, October 14-17, 2009

Reprinted from World Cinema Review (October 2009), originally published with discussions of two other films, The Pajama Game and 

     On the Waterfront.

Reprinted from Reading Films: My International Cinema (Los Angeles: Green Integer, 2012).

 

Elia Kazan | On the Waterfront / 1954

somebody

by Douglas Messerli

 

Budd Schulberg (screenplay, based, in part, by articles by Malcolm Johnson), Elia Kazan (director) On the Waterfront / 1954

 

     The same year that The Pajama Game opened on Broadway, Elia Kazan's On the Waterfront premiered in movie houses; the two could not be more different in how they deal with the subject workers and unions. Whereas in The Pajama Game the local union, completely controlled by the local workers, successfully serves their concerns, writer Budd Schulberg's reportage of the International Longshoreman's Association, run by the mob (in New York the infamous Genovese family) argues that they rob union funds while demanding complete fealty and further financial extortion from the workers.

 

    The film, based on newspapers stories written by Malcolm Johnson in the New York Sun, begins with a somewhat dim-witted but gentle tough, Terry Malloy (Marlon Brando), playing lackey to the gangster union boss Johnny Friendly (Lee J. Cobb) who orders him to lure a young dockworker, Joey Doyle, to his apartment rooftop. Doyle has evidently informed on union workers to a new Crime Commission committee, and Johnny wants him killed. The unsuspecting Molloy (who presumes Friendly's henchmen will only rough him up) does what he's told, inviting Doyle, himself a bird lover, to inspect his rooftop pigeons. In shock, Terry witnesses Doyle's murder as he is hurled to the street below.

     From that moment on, Elia Kazan's film takes its subject by the teeth and refuses to let go. No matter what one thinks about Kazan—most of my older Hollywood friends have refused to speak to or even of him since 1952 when he served as a friendly witness before the House on un-American Activities—there is no question that On the Waterfront is a powerful and mesmerizing film, with brilliant performances by Brando, Karl Malden, Rod Steiger, and Eva Marie Saint and an original score by Leonard Bernstein. The film won eight Academy Awards, including the Oscars for Best Picture and Best Director, and is listed on the American Film Institute's list of most memorable movies.

     It is useful to realize, however, that no matter how factual Schulberg and Kazan's film was (and there is every reason to believe that they correctly portrayed the brutality of the New York shipping docks) Kazan's intention was to create a kind of allegory for his own position before McCarthy and others. The original screenplay, "The Hook," was by Arthur Miller (who refused to name names before the HUAC committee), but he was replaced by Schulberg (who, like Kazan, testified as a friendly witness before the committee). Pressure from the HUAC committee wanted the mob villains to also be Communists, but fortunately Schulberg did not defer to their wishes. Nonetheless, Kazan's film, with its emphasis on those who refuse to speak up against the mob, his obvious disdain for those who remain "Deaf and Dumb (D & D)," was clearly a statement against the criticism he had received for speaking out at HUAC. *

     Most of On the Waterfront, accordingly is devoted to the long struggle by Father Barry (Karl Malden) and Joey Doyle's sister, Edie (Eva Marie Saint), with whom Terry gradually falls in love, to convince Terry to come clean and report what he has seen to the Crime Commission. When the mob begins to suspect that Terry might squeal, they order him killed, unless Terry's older brother Charley—deeply involved in the Union mob—can convince him to remain silent. Through conversations with Edie and Father Barry, Terry gradually begins to understand the difference between survival and hope, as he develops a new set of moral values which reach back into his own past.


    In what is one of the most heart-wrenching scenes in the film, Charley literally takes his brother "on a ride," trying to force Terry to understand the danger of his potential acts. As they discuss Terry's past career as a boxer, Terry admits that is has very little offer in his current life. But whereas Charley blames his brother's manager ("That skunk we got you for a manager, he brought you along too fast"), Terry suddenly blurts out the truth:

 

                    It wasn't him, Charley! It was you. You remember that night in the Garden,

                    you came down to my dressing room and said: 'Kid, this ain't your

                    night. We're going for the price on Wilson.' You remember that? 'This

                    ain't your night!' My night! I coulda taken Wilson apart! So what happens?

                    He gets the title shot outdoors in the ball park—and whadda I get? A

                    one-way ticket to Palookaville.

 

Their final interchange represents Terry's transformation from dim-witted lackey to a man of growing wisdom and moral integrity:

 

                   Terry: You was my brother, Charley. You shoulda looked out of me

                        a little bit. You shoulda taken care of me—just a little—so I wouldn't

                        have to take them dives for the short-end money.

                   Charley: I had some bets down for you. You saw some money.

                   Terry (yelling and heartbroken): You don't understand! I coulda had

                        class. I coulda been a contender. I coulda been somebody, instead

                        of a bum, which is what I am. Let's face it [pause]....It was you, Charley.

 

With such an intense scene between brothers, Kazan needs to say little about the union Charley represents. The relationship between the workers and the union is played out in On the Waterfront in terms of sibling betrayal, saving the director from having to focus on the deeper issues concerning the relationship between the two forces.


     Obviously, Terry must die! And in Schulberg's original script that was to have been his fate. But Kazan would then have been without a hero to give evidence to his righteous act of testifying. In the final film Terry battles Friendly directly through a kind of end-all fighting bout; he is nearly killed by the union henchmen, but, once Terry is helped literally to stand, his supporters in pietà-like formation, he refuses to give in, weaving and lunging forward, a working man's Christ as he moves into the maw of the ship, Friendly shouting after like some angry schoolyard bully who has temporarily lost his powers. The cinematic myth Kazan has created is perhaps more powerful than Schulberg's original political commentary.

 

 *It's interesting that Miller went on to write two works that told a different story of behavior regarding public testimony: A View from the Bridge, about the family loyalty of Italian immigrants, and The Crucible, about the Salem witchcraft trials and the related testimony of young girls and others against the so-called witches.

 

Los Angeles, October 14-17, 2009

Reprinted from World Cinema Review (October 2009), originally printed with reviews of On the Waterfront and Norma Rae as

     “It Comes with the Job.”

Reprinted from Reading Films: My International Cinema (Los Angeles: Green Integer, 2012).

My Queer Cinema Index [with former World Cinema Review titles]

Films discussed (listed alphabetically by director) [Former Index to World Cinema Review with new titles incorporated] (You may request any ...